All the President's Men
I Heart Huckabees
John and Mary
Kramer vs. Kramer
Last Chance Harvey
Little Big Man
The Lost City
Meet The Fockers
Mr. Magorium's Wonder Emporium
Stranger Than Fiction
Wag The Dog
Who is Harry Kellerman?
"It provides the most observant study of working journalists we're ever likely to see in a feature film."
- Roger Ebert
"A spellbinding detective story"
- New York Times
"Michael Apted's direction is smooth, if not quite up to the task of melding the film's disparate moods into a cohesive whole, and the film has a glorious look -- sumptuous costumes, lovely sets, atmospheric cinematography. If all Agatha's assets can't quite overcome the problems with the script, they still are worthy of admiration"
- Craig Butler (All Movie Guide)
"Germi did the classic Divorce—Italian Style, a remarkably sophisticated farce, ten years prior to this, and he knows the absurdities of Italian mores as well as anyone"
- Don Druker (Chicago Reader)
"Although it has its moments, the film has aged badly, particularly with regard to its views of women, who are portrayed as either sex kittens or shrews."
- Robert Firsching, All Movie Guide
"A colossal letdown that ends up running in place."
- Fantastica Daily
"Mesmerized by the trademark Mamet gutter poetry, Corrente directs unobtrusively and respectfully."
"Uninspired but intriguing gangster flick with fine work from Hoffman and Kidman."
-Dan Lybarger (Nitrate Online)
"Despite Dean's alert, open performance, Billy remains an opaque witness to events that are unfolding over his head. Hoffman's performance also is problematic. There is a stiffness that sets his impersonation apart from his best contempo characterizations."
"While it sometimes fails to live up to its title, Confidence ultimately, wins us over—in short, it dazzlingly does what all good cons are supposed to do."
- Jay Antani (Los Angeles Alternative)
"Jammed with double and triple-crosses that make Doug Jung's confusing screenplay secondary to the film's overall look."
- Steve Crum (Kansas City Kansan)
"...an impressively conceived piece of work that has just as much to offer adults as it does children..."
- David Nusair (Reel Film Reviews)
"This has an appealing two-dimensional comic-book look, but lacks the vision to go with it, not to mention an interesting hero or a feeling for action."
- Jonathan Rosenbaum (Chicago Reader)
"Just barely worth checking out, and even then, it's only for the actors."
"[S]urprisingly compelling... "
- MaryAnn Johanson (Flick Filosopher)
"Mike Nichols' seminal film at once reflected the generation gap and also widened it, giving youths a clear voice, indigenous music, villains (all adults), and a sympathtic anti-hero, played to perfection by Dustin Hoffman in a career-making turn."
"Nichols takes an ad hoc approach to comic irony and the movie seems to have been enshrined by American audiences because each moment in isolation "works," no matter that they tend to cancel each other out."
- Alan Dale (Blogcritics.org)
"A mess, though very often an enjoyable one, thanks to the cast."
"An underrated gem."
"Who wants to spend over two hours with a Peter Pan who screams, 'Don't mess with me, I'm a lawyer!'"
"The exposition is so underlined and re-underlined, you could teach yourself to fly waiting for something to happen."
"A different kind of motion picture, one that challenges the status quo and gives audiences a skewed view on the typical. Here, here!"
"Better then you've heard. Paul William's songs are genius."
"A victim of its own hyped publicity and too harsh criticism, Ishtar is not the worst movie ever made or even a bomb, just a dim-witted silly comedy-thriller (with some good jokes) based on the casting against type of Warren Beatty and Dustin Hoffman."
"John and Mary is supposed to be a contemporary movie, I guess, and yet it's curiously out of touch."
"Director Yates knows how to shape even the sketchiest scenario, and if John and Mary is no deeper than an eggshell, it is every bit as functionally designed."
- TIME Magazine
"Kramer vs. Kramer is definitely a movie to watch together -- your kids may well seek shelter under your arm, glad to know their own families enjoy more peace."
"Another in a long list of those overrated Oscar winners for Best Picture."
"Last Chance Harvey deserves supreme praise for being a vessel that allows cinemagoers to bask in two wonderful turns by Dustin Hoffman and Emma Thompson."
"It fails to be as likeable, despite being beautifully acted by Dustin Hoffman and Emma Thompson."
"Dustin Hoffman succesfully transmits to screen some of the rage of Lenny Bruce, a hard role to digest and project."
"His performance may feel too Actors Studio at times, but he radiates his broad-spectrum intensity until Lenny becomes something of a Dustin Hoffman film festival in miniature."
"Easily one of the most entertaining (and presently overlooked) Westerns of the early 1970s."
"An American classic, Little Big Man seeks to rectify Western history with this engrossing account of the colorful life of 121-year-old Jack Crabb."
"When it succeeds, the film conveys a bittersweet longing for a lost moment and the unfulfilled promise of a democratic Cuba."
"There may be a good film here, but it struggles to break free of the cumbersome framework."
"Dustin Hoffman's first appearance in films might have been his last if this film had been released before THE GRADUATE. He was lucky. Though completed in 1967, the film languished in the vaults until it finally escaped three years later. Hoffman showed bits and pieces of talent, but it took a discerning eye to spot it in this comedy shot on location in Madrid and Rome."
- TV Guide (User Reviews)
"Mad City is a waste of your time and money."
- Gary Brown (Houston Community Newspapers)
"Compelling analysis of the modern media. Somewhat obvious, but still works."
- Fred Topel (About.com)
"Scheider looks great as the well-dressed cool guy and Olivier turns in his most notoriously frightening performance."
- Jeffrey M. Anderson (Combustible Celluloid)
"...not a genuinely convincing thriller, but one that makes us think we’re seeing something more important than it is because of the virtues of its participants."
- John J. Puccio (DVDTown.com)
"[Dustin Hoffman and Barbra Streisand] seem to have been waiting their whole careers to do unrestrained comedy, and they step into their roles with unparalleled enthusiasm."
- Uri Lessing (eFilmCritic.com)
"The expected misunderstandings ensue, as you’d expect, which would be pretty excruciating if not for the performances of Hoffman and Streisand."
- Pete Vonder Haar (Film Threat)
"Impressive to look at, but in the end, it just doesn't ring true."
"Jovovich brings an intensity to the role well-matched to Besson's stylistic energy, though this comic-bookish take on Jeanne D'Arc won't be winning any historical-society awards."
"It only takes a movie like Midnight Cowboy to point out the limitations of a rating system: How can a measly four stars convey the magnificence of this acknowledged classic?"
"What has happened to Midnight Cowboy is that we've done our own editing job on it. We've forgotten the excesses and the detours, and remembered the purity of the central characters and the Voight and Hoffman performances."
- Roger Ebert (Chicago Sun-Times)
"Starring the likes of Susan Sarandon and Dustin Hoffman, filmmaker Brad Silberling delivers a personal movie that reassures us that that we will one day understand those terrible things that happen to us."
- Todd Gilchrist (IGN Movies)
"At the very least an emotionally honest film, but it would have been far more affecting if it felt more true to life."
- Michael Dequina (TheMovieReport.com)
"laughed out loud once, yet I am giving this film a positive review. There's something magical about a G-rated film that attempts to capture life, death and a little bit of magic."
"For all its computer-generated effects and colorful sight gags, Magorium is a dreadfully prosaic movie, lacking charm and grace."
"Scary movie with realistic portrayal of disease. Hollywood happy ending, but very well done action chases, so it works."
"Contemporary paranoias always make for interesting film studies, even when the movie is as stolid and unremarkable as this one."
"A rousing drama of endurance, opportunism and friendship under fire."
- Michael Booth (Denver Post)
"Based on the memoirs of Henri Charriere, the only man to have successfully escaped from Devil's Island, this is a grim and brutal prison drama, made more likable due to the lead star performances."
- Emanuel Levy (EmanuelLevy.Com)
"Tykwer loses his cinematic grip when he tries to blend murder and piety. In his hands, the two don't emulsify."
- Carrie Rickey (Philadelphia Inquirer)
"It's a hard film to like, but it's even harder to dismiss, simply because it's never less than absolutely fascinating."
- Ken Hanke (Mountain Xpress (Asheville, NC))
"Valeria Golino is appealing as Cruise's girlfriend; Hoffman makes his character pretty believable without milking the part for pathos and tears, and it's nice to see Cruise working for a change in a context that isn't determined by hard sell and hype."
"Rain Man's restraint is, finally, rather like Raymond's gabble. It discourages connections, keeping you out instead of drawing you in."
"The film's action is limited to repeatedly ransacking Cusack's apartment, and the plot is rife with Big-Brother-is-watching paranoia."
"A lot of famous faces populate the courtroom in this overplotted and farfetched tale of jury-tampering, but they and the horse they rode in on are all so mired in illogical, head-scratching incoherence, they need lawyers of their own."
"It is all legally preposterous. But Levinson is a slick craftsman, his actors are insinuatingly real, and cinematographer Michael Ballhaus casts a disarmingly believable light on these proceedings."
"Levinson has done nothing to sift the half-truths from the melodrama..."
"Straight Time packs a punch--thanks to the intense and well-modulated performance by Dustin Hoffman."
- Rob Gonsalves (eFilmCritic.com)
"It's a shame that Stranger Than Fiction doesn't quite sustain its premise, but it's so entertaining that you might not even notice."
- Jette Kernion (Cinematica)
"An uncommonly plastic bit of Hallmark sentiment-mongering, with exactly the kind of New Age psychobabble ending you'd expect."
"The most offensive thing about the movie is its hypocrisy; it is totally committed to the pornography of violence, but lays on the moral outrage with a shovel."
"While this is no quick-witted treat on a par with Mr. Levinson's Wag the Dog, it's a solid thriller with showy scientific overtones."
"As the umpteenth entrant in the We-Are-Not-Alone sweepstakes, Sphere feels awfully familiar because it is."
"It turns out to be a touching love story, after all -- so touching that you may be surprised how moved you are at the conclusion of this comedy."
- Roger Ebert (Chicago Sun-Times)
"Possibly one of the top half dozen overrated films of all time."
- Ken Hanke (Mountain Xpress)
"Hilary Henkin and David Mamet’s script is gleefully hyperbolic without ever straying from its political target."
- Jonathan Rosenbaum (Chicago Reader)
"Beyond a couple of hilarious zingers, its impact feels smug and minor."
"It is very glib, very funny in short takes and rather tedious and predictable in long ones, and it virtually kills itself trying to convince us that life at the top is even more anxious, more empty, than is life at the bottom, or at the middle. It does, indeed, sound very much like a comedy that was written by someone who has hit the top, or whatever he considers the top to be, and then suffered that form of the psychic bends that is best treated by being written about."
- Vincent Canby (New York Times)
- Roger Ebert